Richard Burkhard

Baritone

"Master Ford‚ outstandingly well sung by Richard Burkhard"

Hugh Canning, The Sunday Times

"Richard Burkhard makes an outstanding Cascart"

Tim Ashley, The Guardian ****

"Richard Burkhard is masterly as Schicchi"

Clare Colvin, Sunday Express ****

"Richard Burkhard’s Amfortas was a revelation …anguished and deeply moving performance, thoughtfully sung with a compelling, resonant baritone voice"

Jim Pritchard, Seen and Heard International

"Richard Burkhard sings beautifully as Papageno, making him more than a mere comedian…"

Simon Thompson, The Times ****

"Michonnet … whose performance here by baritone Richard Burkhard is richly sung and quite beautifully judged"

Erica Jeal, The Guardian

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Anglo-Swiss baritone Richard Burkhard is a singer-actor of chameleon-like versatility and creativity. Utilising his charismatic stage presence and the beauty and technical prowess of his voice to full effect, he enjoys a reputation for bringing life and depth of character to his roles.

His repertoire encompassing roles as varied as Ford Falstaff, Tonio Pagliacci, Harry Easter Street Scene, Papageno Die Zauberflöte, Garibaldo Rodelinda and Amfortas Parsifal, Richard has regular appearances at English National Opera, Opera North, Scottish Opera, Garsington Opera and Opera Holland Park to his name as well as productions at Teatro Real Madrid, Palau de les Arts Valencia, Opéra de Monte Carlo, Opera National de Lorraine in Nancy, Bregenz Festival, Moscow’s Bolshoi Theatre and New Zealand Opera.

Highlights in recent seasons have included Don Alfonso Così fan tutte with Classical Opera Company, Papageno and also Count Gil Il Segreto di Susanna at Scottish Opera, a role he also sang at Opera Holland Park, along with Major-General Stanley Pirates of Penzance, and La Rocca Un giorno di regno, Don Fernando Fidelio and Faninal Der Rosenkavalier at Garsington Opera, Harry Easter at Opera de Monaco and in Madrid, Gianni Schicchi for Opera North, Garibaldo at the Bolshoi, and Ford at Garsington, for which he was nominated for Best Singer in Opera for the UK Entertainment Awards.

This season Richard sings the role of Junius The Rape of Lucretia with Potsdamer Winteroper, the role of Felix in Violet with Britten Pears Arts, Theatre Director in Donizetti’s Viva la Diva with the Buxton Festival and Sir Joseph Porter in HMS Pinafore with Opera Holland Park.

Other career highlights include Tiridate Radamisto (Northern Ireland Opera)‚ Quince A Midsummer Night’s Dream (Palau de les Arts‚ Valencia and Opera North)‚ Sprecher Die Zauberflöte (Garsington)‚ Lieutenant Horstmayer Silent NightTonioDulcamara L’elisir d’amore, Lhotský Osud, Figaro The Marriage of FigaroNikita in the British premiere of Weinberg’s The Portrait and Sir Despard Murgatroyd Ruddigore (Opera North)‚ Tomsky The Queen of Spades and Cascart Zazà, Michonnet Adriana LecouvreurMalatesta Don Pasquale and Gianni Schicchi (Opera Holland Park)‚ Dandini La cenerentola (Scottish Opera), Marcello La BohèmeMamoud The Death of Klinghoffer , Pish Tush The Mikado

Yamadori Madama ButterflyBosola The Duchess of Malfi, Falke Die Fledermaus and Garibaldo (English National Opera), Tolstoy Sevastopol (Royal Opera House Opera Shots), Sharpless Madama Butterfly (Royal Albert Hall), Oliver Simons The Shops (Bregenz Festival), Papageno at New Zealand Opera and Junkman & King Augustus Candide (Opera National de Lorraine‚ Nancy).

Concert highlights include the Hallé Orchestra with Carl Davis, the Royal Concertgebouw Orchestra under Edo de Waart, the Orchestra of the Age of Enlightenment under Sir Roger Norrington‚ and performances with Emmanuelle Haïm in New York‚ Barcelona‚ and London. Recently recital highlights took Richard to Klavier Fest Ruhr as a guest of Irwin Gage‚ and to De Singel in Antwerp.

Richard started singing as a boy treble in the Choir of St George’s Chapel, Windsor. Later he combined his two passions, theatre and music, and graduated with Distinction from the Royal Conservatoire of Scotland (then RSAMD), before being awarded a bursary to study at L’Accademia Muiscale di Chigiana in Siena, under the renowned tenor Carlo Bergonzi. He is a previous recipient of the Decca Prize at the Kathleen Ferrier Vocal Awards at Wigmore Hall, and winner of the Royal Overseas League Voice Competition.

Highlights in recent seasons have included Don Alfonso Così fan tutte with Classical Opera Company, Papageno and also Count Gil Il Segreto di Susanna at Scottish Opera, a role he also sang at Opera Holland Park, along with Major-General Stanley Pirates of Penzance, La Rocca Un giorno di regno, Don Fernando Fidelio and Faninal Der Rosenkavalier at Garsington Opera, Harry Easter at Opera de Monaco and in Madrid, Gianni Schicchi for Opera North, Garibaldo at the Bolshoi, and Ford at Garsington, for which he was nominated for Best Singer in Opera for the UK Entertainment Awards.

This season Richard sings the role of Junius The Rape of Lucretia with Potsdamer Winteroper.

Burkhard started singing as a boy treble in the Choir of St. George’s Chapel, Windsor. Later he combined his two passions, theatre and music, and graduated with Distinction from the Royal Conservatoire of Scotland (then RSAMD), before being awarded a bursary to study at L’Accademia Muiscale di Chigiana in Siena, under the renowned tenor Carlo Bergonzi. He is a previous recipient of the Decca Prize at the Kathleen Ferrier Vocal Awards at Wigmore Hall, and winner of the Royal Overseas League Voice Competition.

This biography is for information only and should not be reproduced.

Sullivan The Pirates of Penzance (Major-General Stanley)

Opera Holland Park (August 2021)

With effortless style, Richard Burkhard pattered precisely through the Major-General’s tongue-twisters and cut a touching figure as his clockwork oomph began to unwind.

Peter Reed, Opera Magazine

If I’ve heard the ingénue lead sung this well only rarely, in the case of Richard Burkhard’s Major-General Stanley I can safely say never. This under-valued baritone, last seen as Faninal in Garsington’s Der Rosenkavalier, is one of the UK greats and should be celebrated as such. He had a giant clockwork mechanism in his back (yes, he was a toy soldier) and needed winding up at key moments to help get him through his flawless patter song. Brilliant.

Mark Valencia, Bachtrack

Strauss Der Rosenkavalier (Faninal)

Garsington Opera (June 2021)

Richard Burkhard’s nervy, robustly sung Faninal

Hugh Canning, The Sunday Times

“Richard Burkhard’s Faninal was a more sympathetic figure than usual, his aspirations more sad than contemptible, and his singing nobly rather than ingratiatingly phrased.”

Melanie Eskenazi, MusicOMH*****

Among the smaller parts, Richard Burkhard was a hilariously parvenu, resonantly sung Faninal…

Hugh Canning, Opera Magazine

CD: Eccles Semele (Juno), Academy of Ancient Music

AAM012 (January 2021)

Richard Burkhard and Helen Charlston mine some divine comic scenes as the king of the gods and his jealous wife Juno.

Richard Fairman, Financial Times****

Richard Burkhard captures Congreve’s sensual yet thoughtful Jupiter, texturing every word.

BBC Music Magazine (Recording of the Month)

…leading to a lovely duet with Jupiter (the excellent Richard Burkhard), ‘If this be Love’.

Colin Clarke, Rhinegold

Richard Burkhard, assigned the opera’s most Italianate music, sounds slightly inhibited reassuring Semele in his first aria but quickly grows in ardour.

Gramophone

Richard Burkhard brings to Jupiter the suavity of voice and silky touch of the seducer, giving the delicious “Lay thy doubts” the lightness of spirit it needs.

Opera Magazine

Weill Street Scene (Harry Easter), Opéra de Monte Carlo

(February 2020)

Harry Easter (abusive boss, Sam's rival) is unpleasantly sweet, clingy and dances to perfection thanks to Richard Burkhard.

Florence Lethurgez, Ôlyrix

Richard Burkhard proves to be excellent at Harry Easter

Emmanuel Andrieu, Opera Online

Weill Street Scene (Harry Easter), Teatro Real Madrid

BelAir Classiques DVD BAC162 (November 2019)

...the slick sophisticated economy of actor-singers such as the baritone Richard Burkhard, outstanding as Rose's predatory boss.

Christopher Webber, Opera Magazine

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